Introduction: After Postmodernism
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The Church Bells of Northamptonshire
The Church Bells of Northamptonshire by Thomas North File 03– Pages 123 to 172 This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing ; Purchased from ebay store retromedia 124 Peculiar Uses. one short peal, and one other before the burial, and one other after the burial." So much for their use. The 88th Canon directs churchwardens not to allow the superstitious use of bells upon " Holydays or Eves abrogated by the Book of Common Prayer, nor at any other times without good cause to be allowed by the jNIinister of the place, and by themselves." And the 1 1 ith Canon is directed against such as shall..." by untimely ringing of bells. ..hinder the Minister or Preacher." Ringing for Divine Service. Although one bell is all that is really essential for carr}dng out such of these direc- tions as are now usually followed, it is generally only poverty or some other difficulty, which hinders the erection in our modern churches of a number of bells, with which to ring those peals, in which almost all English churchmen delight. And so it was in more ancient times. It will be seen that in Northamptonshire several of the larger churches had five bells, some four, in the reign of Edward VI., and that whilst many had not more than three, scarcely any were satisfied with less than two. In churches where the Canonical Hours were kept the bells, or some of them, would be ringing very frequently for "the ringing of these Canonical hours let the world in those larger know the time, by day and by night ; and churches where such a custom was followed, the several bells, as well as the different ways in which they were rung for the purpose, told the precise service which was then Purchased from ebay store retromedia Peculiar Uses. -
Reportable in the Supreme Court of India Criminal/Civil Original Jurisdiction Writ Petition
REPORTABLE IN THE SUPREME COURT OF INDIA CRIMINAL/CIVIL ORIGINAL JURISDICTION WRIT PETITION (CRIMINAL) NO. 76 OF 2016 NAVTEJ SINGH JOHAR & ORS. …PETITIONERS VERSUS UNION OF INDIA …RESPONDENT WITH WRIT PETITION (CIVIL) NO.572 OF 2016 WITH WRIT PETITION (CRIMINAL) NO.88 OF 2018 WITH WRIT PETITION (CRIMINAL) NO.100 OF 2018 WITH WRIT PETITION (CRIMINAL) NO.101 OF 2018 WITH WRIT PETITION (CRIMINAL) NO.121 OF 2018 1 J U D G M E N T R.F. Nariman, J. 1. “The love that dare not speak its name” is how the love that exists between same-sex couples was described by Lord Alfred Douglas, the lover of Oscar Wilde, in his poem Two Loves published in 1894 in Victorian England. 2. The word “homosexual” is not derived from “homo” meaning man, but from “homo” meaning same.1 The word “lesbian” is derived from the name of the Greek island of Lesbos, where it was rumored that female same-sex couples proliferated. What we have before us is a relook at the constitutional validity of Section 377 of the Indian Penal Code which was enacted in the year 1860 (over 150 years ago) insofar as it criminalises consensual sex between adult same- sex couples. 3. These cases have had a chequered history. Writ petitions were filed before the Delhi High Court challenging the 1 Homo in Greek means ‘same’ – the Nicene creed that was accepted by the Catholic Church after the Council at Nicaea, held by Emperor Constantine in 325 AD, was formulated with the word ‘homo’ at the forefront. -
Metamodern Writing in the Novel by Thomas Pynchon
INTERLITT ERA RIA 2019, 24/2: 495–508 495 Bleeding Edge of Postmodernism Bleeding Edge of Postmoder nism: Metamodern Writing in the Novel by Thomas Pynchon SIMON RADCHENKO Abstract. Many different models of co ntemporary novel’s description arose from the search for methods and approaches of post-postmodern texts analysis. One of them is the concept of metamodernism, proposed by Timotheus Vermeulen and Robin van den Akker and based on the culture and philosophy changes at the turn of this century. This article argues that the ideas of metamodernism and its main trends can be successfully used for the study of contemporary literature. The basic trends of metamodernism were determined and observed through the prism of literature studies. They were implemented in the analysis of Thomas Pynchon’s latest novel, Bleeding Edge (2013). Despite Pynchon being usually considered as postmodern writer, the use of metamodern categories for describing his narrative strategies confirms the idea of the novel’s post-postmodern orientation. The article makes an endeavor to use metamodern categories as a tool for post-postmodern text studies, in order to analyze and interpret Bleeding Edge through those categories. Keywords: meta-modernism; postmodernism; Thomas Pynchon; oscillation; new sincerity How can we study something that has not been completely described yet? Although discussions of a paradigm shift have been around long enough, when talking about contemporary literary phenomena we are still using the categories of feeling rather than specific instruments. Perception of contemporary lit era- ture as post-postmodern seems dated today. However, Joseph Tabbi has questioned the novelty of post-postmodernism as something new, different from postmodernism and proposes to consider the abolition of irony and post- modernism (Tabbi 2017). -
Metamodernism, Or Exploring the Afterlife of Postmodernism
“We’re Lost Without Connection”: Metamodernism, or Exploring the Afterlife of Postmodernism MA Thesis Faculty of Humanities Media Studies MA Comparative Literature and Literary Theory Giada Camerra S2103540 Media Studies: Comparative Literature and Literary Theory Leiden, 14-06-2020 Supervisor: Dr. M.J.A. Kasten Second reader: Dr.Y. Horsman Master thesis submitted in accordance with the regulations of Leiden University 2 Table of Contents Acknowledgments ................................................................................................................................. 3 Introduction ........................................................................................................................................... 4 CHAPTER 1: Discussing postmodernism ........................................................................................ 10 1.1 Postmodernism: theories, receptions and the crisis of representation ......................................... 10 1.2 Postmodernism: introduction to the crisis of representation ....................................................... 12 1.3 Postmodern aesthetics ................................................................................................................. 14 1.3.1 Sociocultural and economical premise ................................................................................. 14 1.3.2 Time, space and meaning ..................................................................................................... 15 1.3.3 Pastiche, parody and nostalgia ............................................................................................ -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Theory and Interpretation of Narrative James Phelan, Peter J
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU THEORY AND INTERPRETATION OF NARRATIVE JAMES PHELAN, PETER J. RABINOWITZ, AND ROBYN WARHOL, SERIES EDITORS FOR VANESSA, MAX, AND MILLY THE RETURN OF THE OMNISCIENT NARRATOR Authorship and Authority in Twenty-First Century Fiction PAUL DAWSON THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dawson, Paul, 1972– The return of the omniscient narrator authorship and authority in twenty-first century fiction / Paul Dawson. pages cm—(Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-1233-2 (cloth : alk. paper) ISBN-10: 0–8142– 1233–6 (cloth : alk. paper) 1. Fiction—Technique. 2. Omniscience (Theory of knowledge) in literature. 3. Narration (Rhetoric) I. Title. II. Series: Theory and interpretation of narrative series. PN3355.D246 2013 808.3—dc23 2013031509 Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Sabon Printed by Sheridan Books, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments vii Introduction The Return of Omniscience in Contemporary Fiction 1 CHaptER 1 Omniscience and Narrative Authority 25 CHaptER 2 The Direct Address and the Ironic -
From Postmodernism to Metamodernism
FROM POSTMODERNISM TO METAMODERNISM: CHANGING PERSPECTIVES TOWARDS IRONY AND METANARRATIVES IN JULIAN BARNES’S A HISTORY OF THE WORLD IN 10 AND ½ CHAPTERS AND THE NOISE OF TIME A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY MELTEM ATEŞ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE SEPTEMBER 2019 Approval of the Graduate School of Social Sciences Prof. Dr. Yaşar Kondakçı Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Prof. Dr. Çiğdem Sağın Şimşek Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Assist. Prof. Dr. Elif Öztabak Avcı Supervisor Examining Committee Members Assoc. Prof. Dr. Nil Korkut Naykı (METU, FLE) Assist. Prof. Dr. Elif Öztabak Avcı (METU, FLE) Assist. Prof. Dr. Selen Aktari Sevgi (Başkent Uni., AMER) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Meltem Ateş Signature : iii ABSTRACT FROM POSTMODERNISM TO METAMODERNISM: CHANGING PERSPECTIVES TOWARDS IRONY AND METANARRATIVES IN JULIAN BARNES’S A HISTORY OF THE WORLD IN 10 AND ½ CHAPTERS AND THE NOISE OF TIME Ates, Meltem M.A., English Literature Supervisor: Assist. -
University of Nevada, Reno Death and Value Reignition: Lucky in the Chance to Die a Thesis Submitted in Partial Fulfillment of T
University of Nevada, Reno Death and Value Reignition: Lucky in the Chance to Die A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Philosophy by Christopher C. Anderson Christopher T. Williams/Thesis Advisor May, 2014 Copyright by Christopher C. Anderson 2014 All Rights Reserved THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CHRISTOPHER ANDERSON Entitled Death And Value Reignition: Lucky In The Chance To Die be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Christopher T. Williams, Advisor Thomas J. Nickles, Committee Member Steven C. Hayes, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2014 i Abstract In this thesis I examine life-extension and embodied immortality and ask whether these are intrinsically problematic. I examine the history of the concept of immortality and find that the usage of the term has nearly always referred to extended but mortal lifespans. I observe that modern commentators have conflated the concepts ―mortal‖ and ―immortal‖ and with deleterious effect on the field of inquiry as a whole. I examine Bernard Williams‘ claim that extended lifespans are destined to crash into permanent boredom and find that while the ―crash‖ is probably inevitable, recovery is always possible in finite lifespans. I do, however, think that a eudaimonic existence necessarily attaches to a mortal one. An immortal lifespan, that is, one in which death is impossible, would irreversibly crash and burn in just the way Williams thinks merely super-centenarian lifespans must. Death gives us a sense that time is running out, and this sense is one a mortal creature can capitalize on to reignite his categorical desires when they burn out. -
Bach S Bells
Bach’s Bells Mors certa, hora incerta Thomas Braatz © 2012 Numerous Bach experts beginning with Philipp Spitta until the present day have commented specifically on Bach’s musical representation of bells in his figural sacred and even secular vocal compositions and have determined that Bach almost exclusively relates bells to the activities and rites surrounding death. The trigger is found in the sung text and is then musically illustrated by various methods and techniques which generally evoke symbolically or metaphorically the notion of bells, although in a few rare instances certain bells are naturalistically imitated.1 An etymological excursion or digression is necessary here in order to discover and relate apparently disparate elements in the discussion of particular interpretations given below. Specifically this amounts to connecting ‘bells’ with ‘clocks’, an association that is much closer than might be expected: According to various dictionaries which supply rather detailed etymologies, bells were introduced from North Africa into Europe (to Italy, specifically, where the Romance languages have based their term for ‘bell’ on the Latin word campana) in the 6th century CE and they [the bells] spread from there (Rome?) to the British Isles where the Celtic and Old Irish languages have the word cloc to indicate ‘bell’. After the end of the 7th century (the earliest documented use in 692 CE), it also begins to turn up in Medieval Latin as clocca, cloca, glogga, gloccus (Bonifatius has cloccum, glocum). While this word was later adopted into English (into Anglo Saxon and Middle English with various forms and spellings of ‘clock’ – or, as the OED would have it, much later into Middle English via Old Dutch clocke in which instance the term traveled with Dutch chiming clocks that were imported to England), Irish missionaries 1 Philipp Spitta: Joh. -
University of Birmingham Introduction, Dying, Death, Burial and Commemoration
University of Birmingham Introduction, Dying, Death, Burial and Commemoration Willis, Jonathan; Tingle, Elizabeth License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Willis, J & Tingle, E 2016, Introduction, Dying, Death, Burial and Commemoration. in J Willis & E Tingle (eds), Dying, Death, Burial and Commemoration in Reformation Europe. St Andrews Studies in Reformation History, Ashgate, pp. 1-24. Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in Dying, Death, Burial and Commemoration in Reformation Europe on 18 March 2016, available online: https://www.routledge.com/Dying-Death-Burial-and-Commemoration-in- Reformation-Europe/Tingle-Willis/p/book/9781472430144 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Postmodernism and the Digital Era Flores, Fernando
Postmodernism and the Digital Era Flores, Fernando 2007 Link to publication Citation for published version (APA): Flores, F. (2007). Postmodernism and the Digital Era. Department of Informatics, Lund University. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Postmodernism and the Digital Era Omslagsbild: Kafka Composition © Maria Crossa, 2007 POSTMODERNISM AND THE DIGITAL ERA Fernando Flores Morador Department of Informatics Lund University 2007 Department of Informatics Lunds universitet, Ole Römers väg 6, 223 63 Lund Postmodernism and the Digital Era © Fernando Flores Morador, 2007 Tryck: Media-Tryck, Lund University, 2007 ISBN 978-91-633-1105-5 Dedicated to Germán Wettstein and Raquel Morador de Wettstein CONTENTS ACKNOWLEDGEMENTS............................................... -
Searching for Roots: Surrealist Dimensions of Postmodern Fiction
http://dx.doi.org/10.12795/PH.1999.v13.i02.12 Searching for Roots: Surrealist Dimensions of Postmodern Fiction Maria-Sabina Draga-Alexandru University of Bucharest This paper is meant to approach postmodernism beyond the limiting constraints of his torical periods, taking over Patricia Waugh's assumption that postmodernism is not, as so often has been said, a "radical break with the previous Western ways of knowledge and representation," but, rather, "a late phase in a specifically aestheticist tradition of modern thought, inaugurated by philosophers such as Kant and embodied in romantic and modern ist art" (3). In the same line of thought privileging continuity via cultural constants rather than historically delimited periods and breaks, Umberto Eco describes postmodernism as "the modern name for mannerism as a historical category." In her turn, Camille Paglia sees Western culture as continuity rather than break and explains it as a continuity of decadent thought, manifested in the perpetua! subversion of Apollonian forms of art by Dionysian ones (131 ). As such, postmodernism-with its discourse of reinterpretation of past histori cal periods that share a similar feeling of identity crisis, whose belief in reason has fallen prey to the expansion of capitalist forces of production, an "incomplete project," as pro claimed by Habermas, because of the current insufficiency of reason as a foundation of knowledge--is also decadent. It is at the same time Dionysian (irrational) and Apollonian (rational), the Dionysian being continuously suppressed and masked by the Apollonian. Basing her theory about the relation of continuity which postmodernism establishes with tradition precisely on this incompleteness, Patricia Waugh also uses the concept of decadence (an ambiguous one, an artistic reflection, according to Paglia, of the tension between the Apollonian and the Dionysian) in its positive, gratuitous, but creative sense, as characteristic of postmodernism, "an awareness of our powers to fictionalise" (13), in tune with J.F.